Cover Image By Blaz Porenta
Concept Art, Digital & Matte Painting Magazine Issue 073 January 2012
Interview Tuomas Korpi
Articles Sketchbook of Julian Totino
The Gallery Oleg Leshiy Shekhovtsov, Serge Birault, plus more!
In the latest of our Illustrating Fairytales series, Blaz Porenta gives us his monstrous take on this fairytale classic.
Painting Creatures From Mythology
Matt Dixon and Simon Dominic Brewer go head to head in this brand new series, as they both tackle the mythical Charybdis using Photoshop and Painter respectively.
Futuristic Vehicles
Carlos Cabrera shows us how to create a futuristic submarine from scratch in the latest part of this series.
Creating New Worlds
In the penultimate part of their comprehensive guide, David Smit and Nadia Karroue show us how to go from concept to story when designing your own world.
Contents “Little ideas just pop out during the day. If they are any good, I write them down on my notebook or cell phone”
Contents
Editorial
What’s in this month’s issue?
Hello and a very happy
“The truth is that I still struggle when drawing and things rarely come out smoothly”
Tuomas Korpi
008
new year! I hope that
Concept Artist
you all enjoyed a
Sketchbook
024
festive break and had a memorable new year.
The sketchbook of Julian Totino
This month we feature: Serge Birault Markus Lovadina Simon Weaner Ferdinand Ladera Roma Cherepov
The Gallery
032 Andreas Rocha
Alexander Tooth
2DArtist are happy to kick
Alexey Zaryuta
Oleg Leshiy Shekhovtsov Ejiwa Ebenebe
the year off with some
10 of the best 2D artworks
Illustrating Fairy Tales
042
amazing tutorials and a really exciting new tutorial series.
Red Riding Hood by Blaz Porenta 048
Chapter 3 - Red Riding Hood
The ability to tell a story within your image is a real skill. There are so many things that need to be taken into consideration,
Creative concepts the overall composition, what you do and don’t put in using the scene and how togoogle portray the emotion of thosesketchup in the scene. These are all things you must consider if you plan to lead the viewers gaze through the scene and make them understand the story behind it. In this series of tutorials illustration experts Simon Dominic Brewer and Blaz Porenta will be talking us through how to tell a story, using well known Fairy Tales which they will re-invent as the subject matter. This series could totally change the way you approach a digital painting.
Designing Your Own World From concept to story by David Smit & Nadia Karroue
We will start this month
Futuristic Vehicles
056
by talking about the stunning image on the cover. I am sure you have been enjoying the excellent Illustrating Fairy Tales series. Up till now we have been in
Chapter 1 | September Issue 069 Ideas, Sketching and the Hippies Chapter 2 | October Issue 070 Design and Hippie Anatomy Chapter 3 | November Issue 071 Designing Hippie-Pippie Space-Vans! Chapter 4 | December Issue 072 Illustrations Chapter 5 | This Issue From Concept to Story Chapter 6 | Next Issue What to Do With These Hippies?
064
Submarine by Carlos Cabrera
Almost every artist gets to a point when they decide that they want to start a new and unique project that they have total creative control of. When you get to this point it can be hard to decide what exactly it is that you would like to do. How do you come up with ideas? And how do you develop them and make them interesting? In this series David
Creatures from Mythology
Smit, with the help of Nadia Karroue, will be showing us how to create an idea and turn it into a unique and interesting project. This series will
“Music has (at least for me) the ability to intensify emotions. Sometime I browse through my iTunes library and get drawn to one of them”
be concentrating on David’s visually stunning self-made world called the Hippie-Pippie-Pocalypse and will have something for everyone, from idea generation techniques to design and painting advice.
Too many 2D artists using 3D in your pipeline will seem very alien. However in certain situations it can provide you with the help you need to create quick and accurate concepts. 3D can be used as a base in many forms of 2D art, but it is never more useful than when creating illustrations of non-organic
Download Introduction to Google SketchUp
structures and vehicles. In this series our artists will be showing us how to use Google’s free modeling
the very capable hands of Simon Dominic Brewer, but in this month’s magazine we hand proceedings over to Blaz Porenta. In this issue
software SketchUp to create a base for our Digital Paintings of a Vehicle. If this is something you
November Issue 071 Chapter 01 | All-Terrain Vehicle December Issue 072 Chapter 02 | Drop Ship This Issue Chapter 03 | Submarine
“Keep The Streets Empty”
078
If anything is going to keep you off the streets at night it would be this creepy illustration,
Blaz talks us through how he created his stunning image of Little Red
which is the creative work of Makus Lovadina. In this Making Of he tells us how he set the
Project overview by Markus Lovadina
With the release of 3DTotal’s new book, Digital Art Masters: Volume 6, we have some exclusive chapters for you...
mood for his stunning illustration and added the to these empty Myths, legends andmonsters fantasy creatures havestreets. always been influential when it comes to digital art. InThis fact,ismany willan never really stray too far moreartists than just artwork book.
084
from these sorts of themes and ideas. In this series a selection of stunning artists will be taking this Not popular and exploring some only subject does it feature full-color, full-of its more images, but they each will artist hasto given a diverse and lesser known characters. Throughout the series each artist will be given a brief for apage character which need interpret and
Riding Hood and describes how important it is to set your mood and
detailed description, their own words, turn into an illustration. To make things a little more interesting this will be done by not one but two artists, one usinginPhotoshop and the other
of the behind each piece using Painter. This will not only show some of the differences between the two pieces of software, butcreation will alsoprocess show how the same brief can be of published artwork. And they’ve done it
interpreted in two different ways. This month Matt Dixon and Simon Dominic Brewer tackle the Charybdis.
especially for this book!
This month we feature:
“Baroko”
composition at the start of the process when trying to portray a story in your image. I can give you some insider knowledge and let you know
Charybdis by Matt Dixon & Simon Dominic
have never tried before it could open your eyes to new and exciting possibilities.
by Blaz Porenta
“Baroko” Digital Art Masters: Volume 6 – Free Chapter
About Us
092
that this series is well worth keeping an eye on.
3DTotal.com Ltd information and contacts © 2011 3DTotal.com. Published by 3DTotal Publishing. All rights reserved.
David Smit and Nadia Karroue continue to tell us about how they have developed and expanded their fantastic Hippie Pippie Pocalypse universe in this month’s issue, and in particular they talk us through how
Editor
Layout
Content
Sub-Editors
Simon Morse
Layla Khani Matt Lewis
Simon Morse Tom Greenway Richard Tilbury Chris Perrins Jo Hargreaves
Simon Morse Jo Hargreaves
Lead Designer Chris Perrins
they develop their characters and how to turn an idea into a story.
Marketing Jo Hargreaves
We wrap up our short series on using Google Sketch Up to create vehicle illustrations this month, and bring things to a close with a real
by different artists. Getting the ball rolling this month are two UK based
bang. One of 2DArtists favorite artists Carlos Cabrera is back in
artists who show us how they thing a Charybdis would look. The two
this issue and shows us how create a cool illustration of a futuristic
artists will use different software, so in this issue Simon Dominic Brewer
submarine. Carlos is a real pro when it comes to painting over a 3D
will be showing us how he created his image in Painter and Matt Dixon in
base, so this tutorial is a must for anyone interested in the technique.
Photoshop.
Now it’s time to tell you about our exciting new series! Mythology
As you can tell this is a great issue and we haven’t even talked about
has inspired all types of art for years, and we are more than familiar
the amazing interview with one of my favorite artists Tuomas Korpi.
with images of Medusa and The Minotaur, so in this series we will be
We also have a great Making of by the very talented Markus Lovadina
exploring the lesser know creatures of mythology in an interesting
and some stunning gallery images by Serge Birault, Simon Weaner,
and unique way. We will be giving a short brief to two (yes two) artists
Andreas Rocha and many more talented artists. I hope you enjoy the
who will be told to interpret and create an illustration from it without
new magazine and that it helps you get the new year off to a creative start.
researching the subject further. At the end of the tutorials we will be able to compare images to see how the same brief can be interpreted
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Issue 073 January 2012
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Contributors Tuomas Korpi
Tuomas Korpi is a concept designer, matte painter and illustrator from Finland who currently working at animation studio PiĂąata. He has been working professionally for about 7 years and is constantly on the lookout
Contributing Artists Every month many artists from around the world contribute to 3DCreative
for new and inspiring projects to get his hands on! He likes to mix different techniques with interesting themes and styles.
and 2DArtist magazines. Here you can find out a bit more about them! If you would like to be a part of 3DCreative or 2DArtist magazine, please contact: simon@3dtotal.com
Blaz
http://www.tuomaskorpi.com/ tuomas.korpi@gmail.com
Simon
Porenta
Dominic
As a child Blaz read thousands
Simon is a freelance illustrator
of fairy tales. Today he tells
specializing in fantasy, sci-fi,
them himself but instead of
horror and the generally bizarre.
writing them, he paints them.
He paints digitally, applying
Blaz likes to create a snapshot of his world for
traditional techniques through use of digital tools. He
viewers, and let them create their own story.�
has worked on game art, book covers, editorial and magazine workshops since going pro in 2009.
http://www.blazporenta.com/
http://www.painterly.co.uk/
blaz.porenta@gmail.com
si@painterly.co.uk
Image by Tuomas Korpi
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Issue 073 January 2012
David
Carlos
Smit
Cabrera
When not traveling or working
Carlos Cabrera is a freelance concept artist and illustrator
overseas, David resides in
from Argentina. He has worked
Amsterdam, freelancing in concept art, illustration and art
on several AAA video games such as F.E.A.R, Section 8, Ghost Recon and Aliens
direction jobs. It’s only when he sleeps that he’s not
Colonial Marines and films like Black Swan. In his
busy! He is always on the search for great projects, opportunities, stories, good music, and a nice cold
free time he does free videos tutorials for his website
beer.
to help other artists get started.
http://www.davidsmit.com/
http://www.artbycarloscabrera.com/
david@davidsmit.com
carloscabrera@gmail.com
Markus
Lovadina
Markus Lovadina (malo) is currently working as a Creative Director in the advertising industry, as well as a freelance Concept Artist/Illustrator. Over recent years he’s had the opportunity to work for companies such as Acclaim Entertainment, Activision and Intel. He has also worked on a couple of movie projects and a variety of book covers too.
Would You Like To Contribute To 3DCreative Or 2DArtist Magazines? We are always looking for tutorial artists, gallery submissions, potential
http://malosart.blogspot.com/ malo74@gmx.de
interviewees, ‘making of’ writers, and more. For more information, please send a link to your work to: simon@3dtotal.com
Image by Tuomas Korpi
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Issue 073 January 2012
New Books and Videos for your 3D toolkit FROM THE PUBLISHER OF DIGITAL ART MASTERS VOL. 2, 3, 4, 5 AND DIGITAL PAINTING TECHNIQUES VOL. 1!
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“Little ideas just pop out during the day. If they are any good, I write them down on my notebook or cell phone�
Tuomas Korpi Interview Hi Tuomas, it is a pleasure to catch up with you. There is no bio or information about you on your site, so I was wondering if you would be willing to tell us about yourself and how you ended up the CG industry? Hi, thanks. I’m a 26 year old concept artist, matte painter and illustrator from Helsinki, Finland. I’ve been working in the CG industry professionally for about six years now, mostly in commercial productions and a few game and movie projects.
I think it all started in the early 2000s when The Art of Star Wars exhibition was visiting my hometown Helsinki and The Lord of The Rings movies hit the theaters about the same time. This whole visual effects industry I had very little or no idea about just opened for me at that moment. Seeing the amazing concept art and matte paintings created for the original Star Wars trilogy just blew my mind! I think that’s the very first time I thought, “This is what I want to do for living”.
I was a really keen drawer at the time and spent a lot of time with computers, programming, making homepages etc., so it was quite natural that I started to combine my two favorite hobbies at some point. I started digital painting in the
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Interview
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Tuomas Korpi
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Tuomas Korpi Interview
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Issue 073 January 2012
Interview
Tuomas Korpi
early 2000s and posted my paintings on forums like CGTalk and ConceptArt.org for critique.
Like many, I ended up in the industry through my personal works and being active on the forums. A Finnish production house was looking for a digital artist and they contacted me after seeing some of my works online. I actually wasn’t convinced about the quality of my work at that time and first turned down the job opportunity. Luckily, I was fortunate enough to have a good friend that convinced me to follow that path and take the position offered to me. And here I am today!
Your route into the CG industry seems to be quite a common one and I think it is great that people can use forums to progress in their careers. If you could give any advice to anyone trying to use forums in this way, what would it be? I think it’s important that you are an active member of the right community. There are dozens of different sites, forums and chat groups that focus on different types of work. The biggest communities, like CGSociety, CGHUB and ConceptArt.org, are probably the best sites to promote yourself, but the level of quality is very high and it might be hard to get noticed.
“I might be a concept artist, a retouch artist, a matte painter or an art director” In my opinion it is always best for you if you’re in a community where people are more talented and experienced than you are! Comment on other people’s work, give good critique and people are more likely to remember you and give you feedback. Promoting yourself shouldn’t be the main focus, but you should focus on having a good time and showing your most recent work. concept based or does it entail creating
years now. Most of our clients are advertising
Can you tell us a little about your current
images for advertising and things like that?
agencies, but we do not design or create
work? I understand that you work at PIÑATA
Yes, I’ve been working at the animation and
advertisements ourselves. We focus on the
in Helsinki. Is your work for them entirely
illustration studio PIÑATA for about three
things we do best: animation, illustration
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Issue 073 January 2012
Tuomas Korpi Interview and concept design. We also have gaming
at the same time. Depending on the projects we
In an animation production, for instance, I’m
companies, studios and production houses as
are working on, I might be a concept artist, a
focusing first on the concept art; developing the
clients.
retouch artist, a matte painter or an art director.
look of the animation, the style and design of
But you could say I’m focusing on visual
elements. After that my role is more of an art
I’m also a co-founder and partner of the studio
development and art direction the majority of
director, overseeing the 3D models, textures,
so there’s usually a variety of things I’m doing
the time.
lighting etc.
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Issue 073 January 2012
On a different project I might work as an illustrator or matte painter, following the direction and style given to me. It’s a very small company of about a dozen people so everybody has to be really, really versatile with their work.
I am sure you would agree that a concept artist requires a particularly good imagination and this is something I see in abundance in your work. How do you start to develop an idea, and how do you encourage your imagination to produce fantastic and original results? Little ideas just pop out during the day. If they are any good, I write them down on my notebook or cell phone. But they need to be developed a little further from there. I usually start by working on the basic form of a concept and then move on to details or the environment depending on the view point I’ve selected. For example, I might have an idea for a strange
Interview
Tuomas Korpi
steampunk device and I try to figure out what kind of culture or environment could produce or use such a strange device. If I’m working on an environment concept, I usually want to enhance the feeling of personality and “realism” through design.
Sometimes my ideas are just settings for personal visual experimentation. I might feel very inspired by some amazing light condition I’ve seen and want to capture that in my painting. Then I try to use elements and materials in my painting that enhance that experience I’ve had.
In the best case scenario I can combine all
Heart of the Forest. Can you remember what
The concept of this painting is actually based
these three aspects into one painting: the
inspired you to paint that picture?
on an old painting I did years ago. It had these
personal visual experimentation, an idea and a
Thanks. It’s definitely one of my most liked
glowing onion-shaped houses on a riverbank
good story to reflect that idea.
paintings and I’m very happy with it too! It
and fireflies flying in a deep blue night, but I
reflects very much what I want my art to be –
was never quite happy with the composition or
I am a big fan of all of your work, but there is
something simple, beautiful and mysterious.
execution of the original painting. So – in a way
one image that stands out to me and blows
Something easy to look at that tickles your
– Heart of the Forest is a revisited version of
me away every time I see it and that image is
imagination.
that painting.
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Tuomas Korpi Interview
It’s hard to remember what the inspiration for
the forest with him – in a lantern – even though
use one of them for the rest of your career
this painting originally was, but I think it was
he is leaving the heart of the forest behind. It’s
which one would you choose?
mostly something visual. I wanted to show
actually quite abstract to explain, now that I
No question, I would choose Photoshop. The
a dialogue between a warm, welcoming
think of it.
painting engine is much better in Painter, but
glow in the forest and the pale light of the moon. Forests, trees and nature in general are definitely my favorite subjects to paint and I love the general idea of living in the woods, surrounded by nature. It’s like this
“For me, Painter is still software that tries to mimic the feeling of painting traditionally”
with the improved features in Photoshop CS5 like rotating canvas, there isn’t really much that is missing. A lot of the time I find myself looking for some nice little adjustment or feature from Photoshop when I’m using Painter – but I have
welcoming, warm home in the middle of the
I notice that you are a proficient user of
forest. I tried to visualize the spirit of the
both Photoshop and Painter. What do you
forest through light. And maybe that guy is
think are the pros and cons of each piece
For me, Painter is still software that tries to
just trying to keep a little part of the spirit of
of software? If you were told you could only
mimic the feeling of painting traditionally. There
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to say I haven’t tried out the newest versions.
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Interview
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Tuomas Korpi
Issue 073 January 2012
are good and bad things about it. When I’m working on a computer I don’t want to feel so limited. The way colors are mixing and blending together, it’s nice, but if my work requires a use of textures and photos or I want to use layers in a more proficient way, then Painter just suddenly feels very slow and unorganized. For complex images, Photoshop is the only choice. I do a lot of photo compositing and matte painting in my work and Photoshop offers a wide range of tools that speed up the working process.
Then again, sometimes I feel Photoshop is still photo retouching software and the color palette and brush tools don’t really have anything to do with painting.
I noticed some really nice sketches on your website, and you mentioned earlier that you drew a lot before getting into CG. Do you still spend time getting sketches down on paper or do you find yourself working digitally 100% of the time now? I still start my ideation process with plain pen and paper, doing small thumbnail sketches. I have filled many sketchbooks with those little doodles! It’s somehow more direct and intuitive to work on paper; it’s easier to focus on the right things. In Photoshop you might get carried away with unnecessary details and all the different options.
We also have the Helsinki Sketch Group gathering every Sunday in my home town. It’s just a few hours in a week, but it’s a good way to keep in touch with traditional media and discuss with other artists. I usually just put some ideas down roughly, but sometimes it’s more fun to really put effort into your drawing and render something very carefully for a change.
I would love to know where you draw your inspiration from, but rather than ask you about artists that influence you, I thought I would ask about what you do in your free time. Is there anything you like to do in your free time that helps generate new ideas for your paintings? During the summertime I cycle a lot, which is a really meditative way of spending your free time. In Helsinki you can get out of the city
Interview
Tuomas Korpi
quite quickly and into the nature. It’s a way of
like to achieve. Is there a dream job that you
my professional dream: working on some big
emptying your mind and being out there and
would like to do one day?
film. My more artistic dream would be creating
breathing fresh air – it’s nice. Some of my ideas
Well yeah, maybe something to do with movies.
a carefully executed and directed, visually
come from those trips.
It’s just that small kid in me. Movies like Star
stunning short film one day.
Wars, Indiana Jones and Pixar animations Of course, movies, documentaries and books
inspired me to develop my skills and to get
A lot of artists seem to be tied to a genre of
are a great source of inspiration for me. I
into this industry and it’s something I really
art. For example, I look at some portfolios
really like to read about history and different
want to do for living one day too! I can’t name
that only contain sci-fi art. When I look at
cultures, watch scientific documentaries, nature
any studios or positions, but that’s probably
your work I see a huge variety of themes and
documentaries, space documentaries, what have you. And movies: animation, adventure, drama, horror – anything goes! I can spend a whole Saturday just sitting on my couch and watching movie after a movie, or go to a theater and watch a few flicks in a row.
I also love to cook in my free time, but I don’t recall generating any new ideas for my paintings there [Laughs]! It’s just a nice way to relax and make something real and enjoyable after spending the whole day in the digital world.
I find that artists are ambitious people. They always have a goal or something they would
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Issue 073 January 2012
Tuomas Korpi Interview image types. Do you have a favorite genre and do you avoid doing lots of similar work on purpose? Yes, there’s definitely a lot of different themes and styles going on. I don’t deliberately try to avoid doing a lot of similar works, but it’s more like a process where I’m jumping from one favorite subject to the next. Nature and steampunk themes are my favorites and I really like to paint anything that is like a human habitat; fantasy cities and colonies. I can mix my interest for culture and architecture with nature and environmental themes. These might be more abstract themes and they aren’t so clear to see in my works. periods and then I’ve had more dark or positive
the different periods and the whole progress.
When it comes to style and technique, I try to
periods, that’s probably why you can see a
Also the new findings in art and light and color
push myself into doing something different and
variety of styles in my portfolio. If you’d put my
dynamics affect on my output of course, and
new. I’ve had more colorful and impressionistic
work on a timeline it would be so clear to see
keep me inspired.
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Issue 073 January 2012
Interview
Tuomas Korpi
Thanks for your time Tuomas. It has been great to take a look at your work and get to learn a little more about you. Thanks, it’s been a pleasure.
Tuomas Korpi For more information please visit: http://www.tuomaskorpi.com/ Or contact him at: tuomas.korpi@gmail.com
Interview by: Simon Morse
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Issue 073 January 2012
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“The truth is that I still struggle when drawing and things rarely come out smoothly�
Julian Totino Sketchbook Sketchbook of Julian Totino This is the first drawing in my sketchbook (Fig.01). I usually start with a HB pencil and later change to a 2B. The truth is that I still struggle when drawing and things rarely come out smoothly.
I love this one, although I don’t know exactly why (Fig.02).
I did this one on a peaceful night a long time ago. Often (not as much as I should do) I sit on the couch, put some music on and relax while drawing the first thing that comes into my head. This was the first thing that came to my head that night (Fig.03).
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Issue 073 January 2012
Sketchbook
Julian Totino
Fig.04 is based on a picture I found on Flickr. Actually it was two pictures, one of a guy jumping, and another of a cat with an open mouth.
Fig.05 shows another image from the “couch session�.
I absolutely love World War pictures. Fig.06 is based on a picture I found on the net. I like his smile.
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Issue 073 January 2012
Julian Totino Sketchbook I really like this one because it came out smoothly without too much of a struggle. That happens almost never (Fig.07)!
Someone I know said this girl reminds her of the girl on the Morrissey video Every Day Is Like Sunday. Although I wasn’t trying to portray that girl, I bet I was thinking about her when I drew it (Fig.08).
This is a funny guy! I like the expression in this one (Fig.09).
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Sketchbook
Julian Totino
I did Fig.10 with some Copic markers and used a picture as a reference.
The freaky little guy in Fig.11 was done with Copic markers and a Pentel brush.
I love when a drawing doesn’t make any sense (Fig.12).
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Issue 073 January 2012
Julian Totino Sketchbook
Look at that hair (Fig.13)!
Fig.14 is just doodles, without thinking.
I really like Fig.15. I wish I could render like this all the time.
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Issue 073 January 2012
Sketchbook
Julian Totino
I have moved now, but this is where I used to work (and live). This is the view from my couch. I did this one with Copic markers and a Pentel brush, which I love (Fig.16).
Fig.17 is a page full of nonsense sketches. I was killing time and listening to Nina Simone while doing this.
This is the view from my window. Nice, huh? I hate how tight this sketch is (Fig.18).
In Fig.19 you can see a WWII soldier. I draw a lot of these.
Julian Totino For more information please visit: http://www.totinotedesco.blogspot.com/ Or contact him at: juliantotino@yahoo.com.ar
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Julian Totino Sketchbook
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Issue 073 January 2012
This month we feature: Serge Birault Markus Lovadina Simon Weaner Ferdinand Ladera Roma Cherepov Andreas Rocha Alexander Tooth Alexey Zaryuta Oleg Leshiy Shekhovtsov Ejiwa Ebenebe
The Gallery 10 of the Best
send us your images! | simon@3dtotal.com
Winter Travellers Andreas Rocha http://www.andreasrocha.com
Speeds Painting
rocha.andreas@gmail.com
Simon Weaner
(Above)
http://simonweaner.daportfolio.com/ simonweaner@gmail.com (Below)
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Issue 073 January 2012
The Towers of Keilah Ferdinand Ladera http://digitalhadz.blogspot.com/ digitalhadz@gmail.com
The Gallery 10 of the Best
send us your images! | simon@3dtotal.com
Down the Streets Markus Lovadina http://malosart.blogspot.com/ malo74@gmx.de
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Issue 073 January 2012
Caveman Roma Cherepov cherom81@gmail.com
King of the Mountain Alexander Tooth http://alextooth.com alextoothart@gmail.com
Mother Earth Ejiwa Ebenebe http://www.peppermint-pinwheel.daportfolio.com/ ejiwa_ebenebe@yahoo.com
Vanessa Lake and Tentacle Serge Birault http://www.sergebirault.fr serge.birault@hotmail.fr
NYC Alexey Zaryuta http://www.zaryuta.com zaryuta@gmail.com
Shadow and Corrupted Oleg Leshiy Shekhovtsov http://xleshiyx.deviantart.com/ art.leshiy@gmail.com
Chapter 3 - Red Riding Hood The ability to tell a story within your image is a real skill. There are so many things that need to be taken into consideration, the overall composition, what you do and don’t put in the scene and how to portray the emotion of those in the scene. These are all things you must consider if you plan to lead the viewers gaze through the scene and make them understand the story behind it. In this series of tutorials illustration experts Simon Dominic Brewer and Blaz Porenta will be talking us through how to tell a story, using well known Fairy Tales which they will re-invent as the subject matter. This series could totally change the way you approach a digital painting.
Illustrating Fairy Tales Chapter 3: Red Riding Hood Chapter 3: Red Riding Hood Software Used: Photoshop
First of all, I would like to say a big thank you to 3DTotal for this awesome opportunity. It is rare for an artist to be commissioned for a project that he planned to do anyway.
From my early childhood I was hooked on all kinds of stories, legends and fairy tales, and for a couple of years now I’ve wanted to create my own version of some of them. I realized that the original versions of most fairy tales aren’t as kind and fluffy as they are portrayed these days. Instead they are rather dark, horrific tales of cruel acts where the end to the story is usually death.
To create a horror painting you need to do more than just create scary characters. The composition, use of darks and lights, and the placement of characters are more important than their look. The best horror flicks aren’t necessarily those with the most blood and gore, but the ones that can establish the scariest mood. Showing less is sometimes more. Creating a claustrophobic environment and selecting the very moment just before contact can help create the scary and tense mood we are after.
In my painting of Little Red Riding Hood I chose
guide the viewers’ eye around the image, as
to follow these rules. I hid most of the wolf’s
well as keep everything balanced (Fig.02).
body in the dark, put branches and fog on all sides of the image and depicted the moment
When I was happy with my sketch I started
where our little girl is still unaware of the danger
painting the main characters, beginning with the
behind her (Fig.01).
wolf. I gave him hands rather than paws and applied some human features to his face. This
At this point I didn’t care about details. All that
makes him look more like a menacing werewolf
mattered was the composition, main light source
than just a wolf.
and tone values. To do this I used Photoshop’s
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basic Round brush. I was careful when placing
Although there is no logical explanation for the
everything inside the grid I created. This helped
strong light source coming from the bottom left
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Issue 073 January 2012
Chapter 3: Red Riding Hood
Illustrating Fairy Tales
part of the image, it helps creating a strong atmosphere. As long I applied this light to everything else in the image it didn’t matter why it is there; I knew the viewer would take it for granted (Fig.03a – 3b).
I redesigned some parts of the girl and her outfit. I added the wolf’s other hand and worked on his silhouette, giving him bristled hair on his back. I also started defining the surroundings by smudging the fogged parts with some hard textured brushes. I love using textured brushes at an early stage of the painting as it gives a finished look to the image. This way you
don’t need to define everything; the textures
painting hair on wolf’s back and hands and, of
themselves will give the hints you need (Fig.04).
course, changing little girl’s face. I decided to do this because I felt she already knew something
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At this point I started working all over the place
bad was going to happen. I needed to catch the
by defining the skulls and bones at the bottom,
exact moment of her turning around. Once that
creating ground textures with scattered brushes,
was done there was much better interaction
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Issue 073 January 2012
Illustrating Fairy Tales Chapter 3: Red Riding Hood between her and the monster behind her, although she can’t see it clearly yet due to the hood she’s wearing (Fig.05).
These kinds of details always help build a stronger story in paintings. You shouldn’t be afraid of making changes during your painting process as long as they help improve the final image. I rarely stay 100% true to my sketch, just because there are so many things that pop out while I am working on something. Sometimes they are lucky mistakes. Other times I see familiar shapes inside random textures that inspire me to explore new directions.
Now that I had a strong core to the image I was able to go and play some more with the environment and light effects. For branches in the upper part of the image I used some custom brushes I created with a photo references. This is a quick way to generate a believable and complex treetop base, but it will always need further work to avoid it looking like a lazy photo placed inside the painting. Using these kinds of brushes only gives you silhouettes and you will then need to add light and shadow to get the final form.
For the lower branches I went with more organic shapes, like tentacles with thorns reaching for our little girl and closing her path. I also used a lot of layers set to Overlay mode with orange hues to make the painting more vivid and full of contrast (Fig.06).
It was also time to use all kinds of brushes to
details here and there, which can be hard to
make it look more painterly. In my personal
achieve with plain brushes. Use them carefully
opinion, traditional paintings evoke much more
in chosen places. They should serve only as a
emotion than those created digitally. Their
cosmetic touch up and nothing more.
unique brush strokes and imperfections bring
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them to life. I strongly recommend downloading
And this is it for this tutorial. I hope everyone
brush packs from great artists such as Goro and
found at least something useful in it. If anyone
Barontieri (Fig.07).
has any questions at all, don’t hesitate to ask.
In my last step I played with the contrast more,
Blaz Porenta
added the moon in the back and placed a
For more information please visit:
couple of canvas textures on top of the image
http://www.blazporenta.com/
(Fig.08). Once again, be very careful how you
Or contact him at:
use these textures. They are great for random
blaz.porenta@gmail.com
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Issue 073 January 2012
! tion W cip O s N b
E d, BL loa
Su
A w IL l Do
n
A ita AV, Dig
D DV
LEVEL UP YOUR DIGITAL SCULPTING SKILLS
TRAIN WITH KILLER ARTISTS 3D CHARACTER DESIGN SERIES WITH SCOTT PATTON
In this two volume series, Scott Patton shows the processes he uses to create a 3D character for feature films. The first volume explores Patton's fast and efficient method for concept sculpting, skipping the 2D sketch phase all together and designing the character entirely within ZBrush®. He covers everything from blocking out the forms and fleshing out the muscles, to adding props, detailing with alphas and posing the character. The second volume covers methods for creating a final color rendering using ZBrush and Photoshop®. Patton cr shows how he squeezes the most from ZBrush’s powerful renderer to create both a wide and close-up shot of the character. He then shares creative Photoshop tips and tricks to quickly get to a finished piece of concept art from the ZBrush renders, covering topics such as adding and refining skin texture, hair, eyes, shadows and scars. Patton also discusses how to create backgrounds that enhance the character and composition. overall ov
All Tutorials Are Now Available As DVDs, Digital Downloads, And Part of The Online Training Subscription
www.thegnomonworkshop.com
Chapter 1 | September Issue 069 Ideas, Sketching and the Hippies Chapter 2 | October Issue 070 Design and Hippie Anatomy Chapter 3 | November Issue 071 Designing Hippie-Pippie Space-Vans! Chapter 4 | December Issue 072 Illustrations Chapter 5 | This Issue From Concept to Story Chapter 6 | Next Issue What to Do With These Hippies?
Almost every artist gets to a point when they decide that they want to start a new and unique project that they have total creative control of. When you get to this point it can be hard to decide what exactly it is that you would like to do. How do you come up with ideas? And how do you develop them and make them interesting? In this series David Smit, with the help of Nadia Karroue, will be showing us how to create an idea and turn it into a unique and interesting project. This series will be concentrating on David’s visually stunning self-made world called the Hippie-Pippie-Pocalypse and will have something for everyone, from idea generation techniques to design and painting advice.
Designing Your Own World Chapter 5: From Concept to Story Chapter 5 - From Concept to Story Software Used: Photoshop
This month we’re going to talk about how we came up with the story for the comic, which is actually pretty lame because no one has even read the story yet, since there are still no finished pages. Yes, we are writing an article about writing a story that hasn’t been written yet. That’s how we roll.
From Vague Ideas to Plot So you built yourself a world and now it is time to populate it with some people who have overcome a bunch of problems. We already established in a previous article that we’re not doing the epic quest to defeat evil thing. No one is taking over the world, nothing is being destroyed and there is no revenge being sought
different characters cramped up together in a
thrown a punch, he’s not stoic but is caring and
by anyone.
tiny spaceship flying through space in a hurry
he doesn’t like conflict. Believe it or not, we think
because they are trying to get to a festival planet
these are amazing qualities for a guy to have!
called the HippiePippiePocalypse.
It’s pretty obvious that his quest is to like and
Instead we’re doing a road trip story because it fits the world much better. Even though the
accept his awesome self (Fig.01).
setting is a place where virtually nothing is
Since we kind of wrote the story to show off the
wrong at all, you still need some suspense!
world we created, we ended up with characters
The Cyborg Pilot
So the idea is that you have a couple of
that were almost like allegories for different
Then there’s Kira. She’s hard working,
aspects of the HippieVerse. But at the same
organized, assertive and annoyed by how
time, they were people we knew from our own
lazy and passive other people can be.
lives. This is actually pretty weird, because we
Everyone always relies on her to do and think
set out to write about a utopia, but what we ended up with hit pretty close to home.
The Boy Next Door Dingo is the standard, in a way. He hasn’t done much with his life. He doesn’t know his worth and feels useless. Sound familiar? But there’s more to him.
of everything, and because she really isn’t a slacker, she ends up with all the work. But that doesn’t mean she actually wants to be that person. Just like Dingo is an ode to sensitive boys, Kira is an ode to girls who carry the weight of the world on their shoulders. They’d love to give away some of their burdens, but they don’t trust other people to carry those burdens correctly. Not even for the most mundane tasks! Can you guess what her quest is going to be? She’s going to learn to let go a little (Fig.02).
In a way he’s an ode to today’s young men who are nothing like
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the action hero psychopaths
The Awkward Robot
that you see in movies. He’s
SumSum is a retired robot. SumSum was one
not a smooth flirt, has never
of a series of experimental actor bots that were
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Issue 073 January 2012
Chapter 5: From Concept to Story
Designing Your Own World
made a long time ago. It was made to learn how to be and what to do. Send an actor bot to a nursery school, and it’ll become the best nanny it can be. Let it hang out with engineers and that’s what it’ll become. Even its gender identity depends entirely on its surroundings. Because of this, actor bots that change their surroundings regularly can come across confused. They never fully become something (or themselves, whatever that may mean) and are always awkwardly trying to adapt to their surroundings. SumSum’s role in the story is to be an awkward and funny mirror to the other characters. Maybe it’ll have a quest of its own at some point; we don’t know that yet (Fig.03).
The Robot that Wants to Rule the World Gippy is a tiny navigation bot with illusions of grandeur. He thinks he’s the master of all humans because he’s super-important. But everyone just treats him like he’s not even there! The irony is that he is actually really important. Navigating through the cosmos without him would be impossible for the crew. But they
She has always studied the things she was
amount of experience with psycho-actives,
continue to treat him as a silly toy, that is, if they
interested in, instead of what she thought she
people often perceive her as weird and asocial.
notice his tiny dictator voice at all. I guess he’s
was supposed to study. She travels the cosmos,
They completely change their minds about
comic relief and social glue (Fig.04).
looking for plants and fungi with interesting
her, however, when they find out that she’s a
chemical effects on the human mind and body.
scientist. You see, in the HippieVerse scientists
This lifestyle has had an interesting effect on her
are what rock stars and celebrities are for us
DeeDee is a perfect example of what can
personality. Because of her lack of experience
today (Fig.05).
happen if you fully make use of the HippieVerse.
with fellow humans, and maybe an excessive
The Mad Scientist
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Issue 073 January 2012
Designing Your Own World Chapter 5: From Concept to Story The Comfort Blanket Owly is DeeDee’s best friend. There really isn’t much about him except enthusiasm, love and, of course, the cuddly cute factor. But even so we found out that Owly is absolutely necessary in the story. For some reason, DeeDee without Owly is a tragic character. Everything about her just seems so painfully lonely when Owly isn’t there. I guess you could compare it to Finn and Jake from Adventure Time. Imagine Adventure Time without Jake the Dog, but only Finn the Human. How sad is that? Just a little kid alone in a world of monsters. It’s super sad! (Fig.06 – 07).
The Lesson of Today Tiny ship plus crazy people equals fun. Who knows, maybe next month we can finally show you guys some pages! See you next month! (Fig.08).
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Issue 073 January 2012
David Smit and Nadia Karroue For more information please visit: http://www.davidsmit.com http://vg-heart.blogspot.com/ Or contact them at: david@davidsmit.com nadia@vg-heart.com
A small selection of VFS Animation & Visual Effects alumni credits include | 2012 | Zeke Norton, Previsualization Supervisor | Jamie Bowers, Texture Artist | Christine Peterson, Digital Compositor | Anuj Patil, Senior Technical Director | Alice in Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Geeta Basantani, Digital Matte Painter | Andrew Lawson, Character Animator | Assassin’s Creed: Brotherhood Zack Mathew, Animator | Wilson Mui, Team Lead Animation | Avatar | Michael Cozens, Lead Animator | Tamir Diab, Technical Director | Patrick Kalyn, Animator | Chrystia Siolkowsky, Motion Editor | Ben Sanders, Animator | Alfredo Luzardo, Layout Technical Director | Aaron Gilman, Character Animator | Jami Gigot, Texture Artist | Bioshock 2 | Jacob Palmer, Animator | Bob’s Burgers | Tammy Dubinsky, Animator | Nathan Keane, Animation Effects | Jake Biberdorf, Animation Supervisor | Coraline Brian Demoskoff, Animator | The Dark Knight | Gia Sadhwani, Digital Effects Artist | Freddy Chavez, DMR Compositor | Pietro Ponti, Lead CG Lighting Artist | Dead Rising 2 | Fredrick Fassé, Animator | Dead Space 2 | Wayne Gonsalves, Environment Art Lead | Despicable Me | Justine Codron, Lighter | District 9 | Neill Blomkamp, Director/Co-Writer | Shawn Walsh, Visual Effects Executive Producer | Samson Wong, Matchmove Artist | Robert Bourgeault, Lighting Lead | Richard Sur, Lighting Technical Director | Paul Copeland, Visual Effects Artist | Julianna Kolakis, Creature Texture Painter | Jelmer Boskma, Modeler | James Stewart, Creature Supervisor | Derek Stevenson, Matchmove Lead | Drag Me to Hell | Thomas Schelesny, Visual Effects
WATCHED A BLOCKBUSTER IN 2011? 9 OF THE 10 HIGHEST-GROSSING MOVIES OF LAST YEAR FEATURED THE WORK OF VFS ANIMATION & VISUAL EFFECTS GRADS. CLEMENT YIP
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Creative concepts using google sketchup
Too many 2D artists using 3D in your pipeline will seem very alien. However in certain situations it can provide you with the help you need to create quick and accurate concepts. 3D can be used as a base in many forms of 2D art, but it is never more useful than when creating illustrations of non-organic structures and vehicles. In this series our artists will be showing us how to use Google’s free modeling software SketchUp to create a base for our Digital Paintings of a Vehicle. If this is something you have never tried before it could open your eyes to new and exciting possibilities.
November Issue 071 Chapter 01 | All-Terrain Vehicle December Issue 072 Chapter 02 | Drop Ship This Issue Chapter 03 | Submarine
Download Introduction to Google SketchUp
Sci-Fi Vehicles Chapter 03 - Submarine Chapter 03: Submarine Software Used: Google SketchUp and Photoshop
Introduction In this tutorial you will learn how to create a futuristic submarine from scratch. We will begin with a 3D base made in Google SketchUp and then add textures and tweak it in Adobe Photoshop to create an illustration. I use 100% of these techniques on a daily basis, whether it is for an illustration or for games companies. Google SketchUp is a neat tool that can really speed up your workflow.
Before we start doing anything we need to find some references of what is that we want to paint. This is a very important and crucial process for any illustration, since we don’t want to lose the focus of our main subject once the creative process begins. In this case we need to search for submarine pictures, particularly ones with blue tones on them like you would see in movies or military archives.
Once we have enough references it is time to draw some small thumbnails. What we are looking for here is a futuristic design for our submarine. In Fig.01 you can see what I came up with.
SketchUp 3D Base
create parts in is not crucial as when you are
Now we can use the Push/Pull tool to extrude
done you can easily group everything together.
the object, as you can see in Fig.03. Select the
I decided that F is the design that comes closest
face on the end and use the Scale tool to shrink
to the futuristic look we’re trying to produce. The
What we are doing at this point is basically
next step is to open Google SketchUp, select
drawing the submarine from a top perspective in
the Line tool from the toolbar and draw a shape
SketchUp. Modeling both sides is not needed,
Once we have this shape, repeat the previous
similar to the one in Fig.02. This will become the
since when you have half of the object you
step several times until you create a curve
tail for our submarine later. Start modeling the
can flip it to save time and guarantee that it is
like the one in Fig.04. You can then finish this
submarine sections. At this point the order you
perfectly symmetrical.
section by continuing to add parts to it (Fig.05).
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page 57
it, which will create a sort of Bevel effect.
Issue 073 January 2012
Chapter 03 - Submarine
Sci-Fi Vehicles
Now that we have half an object finished we need to select all the objects on the screen and group them (right click > Group). Once this is done you can just copy the grouped object and paste it anywhere else on the canvas (make sure it’s not on top of your object) and make a mirror to obtain the second half of the submarine’s tail. The process is easy enough.
Right click over the object and select the Flip Along option. Select the axis you want to flip; in my case it was the red axis. Now you should have both objects aligned next to each other, as you can see in Fig.06. Select the Move tool from your main toolbar and select any corner of the cloned object. Once you have one picked slowly drag your mouse to snap that corner to the original, as you can see in Fig.07.
And that is it for the tail. All you need to do
use Scale on both faces. Use this on both the
simple cylinder and the bevel technique we
top and the bottom faces to achieve a cylindrical
can now create propellers and position them
shape, as you can see in Fig.09 – 10.
on both sides of the submarine (Fig.14). Now we only have to model the bridge following the
now is repeat the process for the hull. Do the same as before and draw the top view of the
Select both of the front faces of the tube and
same steps as we used to model our tail and
hull. Remember we are only drawing half of the
extrude again to create the two bridges that
propellers. Shape, push, scale, group and clone
object as we will clone the other half later.
connect the hull with the submarine front
– easy as pie (Fig.15).
(Fig.11). Now we just have to model the front Once you are happy with the shape (Fig.08)
using the reference thumbnail we drew (Fig.12).
We have now finished modeling all the important parts of the submarine. Now all we need to do
use the Push/Pull and Scale tools again. This time, shrink the top face of the object. The main
Group, duplicate and join everything the same
is combine each object, make it a group and
difference with this part is that we are going to
way as you did with the tail (Fig.13). With a
deform it with the Scale tool if the final shape
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Issue 073 January 2012
Sci-Fi Vehicles Chapter 03 - Submarine doesn’t seem quite right. In my case I had to stretch it a little so it had the same length as the thumbnail (Fig.16 – 17).
Now that we have finished the modeling stage we need to go to File > Export > 2D Graphic and export the image to Adobe Photoshop. If you like you can use a rendering plugin like Podium or V-Ray to create a more realistic image.
Photoshop Textures For this stage we can use some textures. I found my textures at CGTextures.com. We use these to add more detail to our futuristic submarine with a couple of simple techniques that anyone can learn in a few minutes.
Firstly we need to paint over all the visible faces of our submarine and leave it clean (Fig.18). We also need to create a mask of the entire submarine to help us later when we need to paint the background. Having all these elements ready means we can start using the color and atmosphere references we gathered at the beginning. The first step will be to paint a dark blue gradient (almost black) to light blue over
It will probably be the case that the turbine
Now that we have our texture in the right
our background (Fig.19).
texture is not in the same perspective as the
perspective, change the blending mode to
submarine. To fix this we need to use the
Overlay so that it blends with our submarine.
To texture the submarine’s hull I chose an
Transform tool (Ctrl + T) along with the Wrap
If part of your texture ends up covering the
interesting texture that belonged to an old plane
function. Deform the texture to come up with a
background use the previously created mask to
turbine. Cut out the shape you want and get rid
cylindrical shape, as you can see in Fig.21.This
erase it and avoid fighting with the Photoshop
of the part you don’t need. Don’t worry too much
is a technique I use a lot to avoid having to look
Lasso tool. You results will vary, but it should
about it being perfect at this stage (Fig.20).
for a picture with perfect perspective.
end up looking something like Fig.22.
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Issue 073 January 2012
Chapter 03 - Submarine
Sci-Fi Vehicles
With the same technique add detail to the submarine propellers and to the front of the ship. You can see my progress in Fig.23 – 27.
If any of the textures don’t look nice set to Overlay try other blending options or even adjust the colors to match the image. Anything goes! In Fig.28 you can see how the image looks now with the newly applied textures.
New Shapes and Final Details With your favorite brush add detail to the shape of you futuristic submarine. Keep in mind where
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Issue 073 January 2012
Sci-Fi Vehicles Chapter 03 - Submarine
the light comes from. In this case it comes from above and is a light blue color. Start adding details by adding small strokes, as you can see in Fig.29. Add an army-green gradient from top to bottom. This will make the submarine shape pop from the background.
The next step is to create the lights with some simple white lines. Once you have done this, apply a light blue outer glow to them to create the volumetric effect that people love so much. Search the internet for a caustic texture to apply to the whole submarine using the same Transform/Wrap technique we used earlier (Fig.30). The caustic texture will need to be set to Color Dodge blending mode, which gives the illusion of having the water reflected over the submarine.
At this point we are almost there. We just have to do some minor tweaks here and there. The submarine shape was right, but I thought of another way to give it a futuristic appearance. This is the fun part of the whole process, because this is when we add small details to really sell the image (Fig.31). A communist star was perfect to give my submarine history. I also added other small details like the bubbles on the propellers and the text on the side.
The background looked a tad dull so I decided to add a mine or two to enrich the illustration and make it more fun and interesting to the viewer. To do this I selected part of the background and quickly added detail. I did this on a different layer to be able to clone it later and create a minefield.
Once you have your ocean full of dangerous mines, select the mines closer to the camera
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and use a Blur filter to add fake depth of field. I also added a lens flare simulating the sun in
Chapter 03 - Submarine
Sci-Fi Vehicles
Screen mode.
I hope you have enjoyed working on this as much as I did. Have fun creating your own futuristic vehicles (Fig.32).
Carlos Cabrera For more information please visit: www.artbycarloscabrera.com Or contact him at: carloscabrera@gmail.com
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Myths, legends and fantasy creatures have always been influential when it comes to digital art. In fact, many artists will never really stray too far from these sorts of themes and ideas. In this series a selection of stunning artists will be taking this popular subject and exploring some of its more diverse and lesser known characters. Throughout the series each artist will be given a brief for a character which they will need to interpret and turn into an illustration. To make things a little more interesting this will be done by not one but two artists, one using Photoshop and the other using Painter. This will not only show some of the differences between the two pieces of software, but will also show how the same brief can be interpreted in two different ways. This month Matt Dixon and Simon Dominic Brewer tackle the Charybdis.
Painting Creatures from Mythology Chapter 1: Charybdis
Chapter 01 - Charybdis Software used: Photoshop
Brief In Greek mythology, the Charybdis or Kharybdis was once a beautiful naiad and the daughter of Poseidon and Gaia. She took the form of a huge bladder-like creature whose face was all mouth and whose arms and legs were flippers, and who swallowed huge amounts of water three times a day before belching them back out again, creating whirlpools.
First Thoughts This is a well-balanced brief. It provides some background for the creature, a partial description of her physical characteristics and explains what she does without giving unnecessary detail. Everything needed for a solid design is there, but there’s plenty of room to be creative and have fun.
Before picking up a pen or pencil, it’s a good
in the final rendering. It seems that there are
idea to take a little time and dissect the brief.
two ways to approach the design; either to
Identify the different elements provided and how
start with a bladder-like shape and try to add
they might impact on the design of the creature.
design elements or to use other elements of her
Naiads are graceful and beautiful water nymphs.
description as a starting point and try to develop
Perhaps some aspect of this past form could be
the design from there.
evident in the final design? This could manifest physically or maybe as a mood or emotion – for
Though some kind of bloated beast is inevitable,
example, sadness at her lost beauty or anger at
I’m concerned that using the bladder shape as a
her transformation.
starting point will limit design choices and result in an uninteresting creation. Beginning at some
Poseidon and Gaia are significant figures in
other point and finding a way towards a final
Greek mythology. Though Charybdis is more
design forces intelligent and deliberate choices,
obscure, her parentage would suggest a
which tend to give more depth to a concept.
powerful character. “A huge bladder” does not
That seems the more appropriate choice in this
immediately suggest a particularly interesting
case.
creature. A giant balloon with fins stuck to it would be a very lazy design, so care must be
Rough Ideas
taken to avoid this route.
To me, the most appealing element of the description of Charybdis is that she was once
Some indication of whirlpools and Charybdis
a naiad. This sharp contrast to her current
belching or swallowing water should be seen
form is interesting, and the transformation
in the finished illustration. This also poses a
from beauty to beast seems an important part
possible problem as large amounts of water
of the creature’s story and possibly suggests
entering or leaving the creature’s mouth could
her personality. Narrative elements, however
obscure large parts of her body.
subtle their manifestation in the final design,
Getting Started
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are always fun to explore and tend to suggest greater depth in a design than visual cues alone.
The first step in any design is always to find a
They also help an artist to connect with their
starting point. Choosing where to begin and why
creation as a living thing rather than a collection
will set the tone of the entire design process.
of two-dimensional shapes. With this in mind,
They key visual attribute of Charybdis seems
I’ll begin my design of Charybdis with a rough
to be the idea of her being a huge bladder-
sketch of how she may have appeared as a
like creature and this will need to be obvious
naiad (Fig.01).
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Chapter 1: Charybdis
Painting Creatures from Mythology
Using this image as a starting point I can start to consider how she may have changed into the creature described in the brief. I can explore different ideas by mutating her humanoid body. This evolutionary approach to design will generally spark more interesting thoughts than leaping straight towards the end result and, in my opinion, is much more enjoyable! Initially I’m just concerned with the principle shapes and establishing an overall form that is pleasing to the eye, while satisfying the requirements of a bladder, flippers and a face
shape and humanoid elements. The suggestion
seems a suitable match for her bloated shape.
which is all mouth (Fig.02).
of shoulders and the indication of an upper
Adding damage and texture to her body will
torso above the bladder are familiar anatomical
give an impression of age and make her appear
First sketches should be quick and loose. A
elements that help to make the connection
more monstrous (Fig.03).
speedy exploration of ideas is more important
between this creature and a naiad.
than detail at this stage. Consider how the
Presentation
transformation to sea beast may have occurred.
Development
Did her legs fuse together into a tail? Which part
Now the rough sketch can be worked up to
ready to be presented in a final image. Refer
of her body grew to become bladder-like?
add definition and details. Again, keep things
back to the brief and first thoughts to consider
free and fluid. Try to justify all decisions and
how she should be portrayed. Are any elements
Analyze the first sketches. Even if the designs
keep shapes consistent so the design has a
of the brief not clearly shown in her design that
are broadly similar, one or two will usually feel
consistent flow. Choose a neutral pose for
could be emphasized in the finished illustration?
more successful than the others when viewed
this stage of the process: a clear view of your
In my final image, I want to establish Charybdis
side by side. Try to understand why a particular
creation makes it much easier to concentrate
as the huge beast described in the brief.
design is appealing as you choose which to
on the design without the distraction of
Including objects to act as a scale reference is
develop further, as those aspects should be built
foreshortened limbs or obscured body parts.
the best way to do this. A vessel teetering on
upon in the final image.
In keeping with the evolutionary theme of
the lip of a whirlpool seems a good choice as it
humanoid to beast, I’m imagining Charybdis as
will add a sense of drama and peril in addition to
Rough C is my choice to work up. I feel it has
an aquatic mammal similar to a whale or walrus.
showing the size of the creature.
the best balance between the bladder-like
That suggests a tough, blubbery hide, which
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With the basic design complete, Charybdis is
Issue 073 January 2012
Painting Creatures from Mythology Chapter 1: Charybdis To further emphasize the scale of Charybdis, I’ll show her rising out of the sea and set a low viewpoint. This will give the impression that the viewer is looking up at the beast, suggesting that she rises high into the sky. Placing her out of the water also allows for a better view of Charybdis. Including the jagged cliffs of some inhospitable island in the background will also help to define scale. Set up the basic composition with simple shapes to begin with as this will make it much easier to find a balance. Try to deal with the image as a whole rather than focusing on any single aspect (Fig.04). To quickly lay in values, I place the sketch on a
Some complimentary orange hues will also be
Once a simple layout is established, add details
new layer set to Multiply and work with a large
included to add interest. I’ll also use a unique
as necessary (Fig.05).
brush on the layer below. Once a rough pattern
accent color to draw attention to the sinking
of values is established, I flatten the image and
ship.
Next, consider values. Here is where the lighting
work into it to add detail (Fig.07). Charybdis is
and mood is set up. What atmosphere suits your
now ready for color!
creation best? Moody? Sinister? Melancholy?
I block in a simple color scheme the same way as I lay in basic values. The value sketch
I want my final piece to be dramatic. A night
Painting
sky should provide a good background for
Think about the mood and lighting you have
beneath with a broad brush and opaque color.
Charybdis, whose horrible bulk will be strongly
chosen for your final image. What color scheme
At this stage, different portions of the image
illuminated against a crashing sea and tumbling
suits this best? I have chosen a cool color
can be colored on separate layers so that
rocks. Keeping the sky clear will help to suggest
scheme of blues and greens. These colors
adjustments may easily be made if necessary
the maelstrom before her is her work, not stormy
are traditionally associated with the ocean and
(Fig.08).
weather (Fig.06).
should support the nocturnal setting well too.
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is placed on a layer set to Multiply and I work
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Chapter 1: Charybdis
Painting Creatures from Mythology
Once basic colors are in place, the image is
Some subtle secondary light from an unseen
flattened and rendering can begin. I color pick
moon helps Charybdis to stand out from the
from within the image, working mostly from dark
background. The raging sea is created with a
to light within the established pattern of values. I
combination of deliberate marks and custom
want to ensure the form and shape of everything
brushes made from a simple scanned paint
in the image is well established before I move
splatter. Carefully placed, these splatter shapes
on to the next stage (Fig.09).
are a quick and effective way to add energy to the water (Fig.11).
Details are next. Charybdis is huge: small details will help to establish the size of her body
Some final detailing and the addition of some
without breaking up the large, simple shapes
stronger highlights completes the illustration.
that give her bulk and weight. Teeth help to pull
At all stages of the painting, I’m working with
the viewer’s attention towards her head, while
the full image in view so I can see how working
small details on the ship help it stand out better
in one part of the piece may affect another.
against the swirling sea (Fig.10).
Working up the image as a whole, rather than
tackling portions separately, is a good way to help retain the balance established in the early compositional sketches (Fig.12).
Conclusion Look back at the brief to see how it compares with the finished image. Every piece of work is an opportunity to learn, so this is a good opportunity to be critical of your work. What works? What doesn’t and what could have been done differently?
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I’m satisfied with my final illustration. It has drama, I think the sense of scale is effective and I’m pleased with the idea of a clear sky to show that the raging sea is the work of Charybdis. The creature design is consistent with the brief and I think there’s just enough human anatomy in evidence to be able to imagine Charybdis as a raging leviathan, or a tortured soul bellowing with frustration at being trapped in her hideously transformed body. I’d be curious to know how different it would have been if I’d taken an alternative route. I guess the only way to find out is to go back and do it again!
Matt Dixon For more information please visit: http://mattdixon.co.uk/ Or contact him at: mail@mattdixon.co.uk
Chapter 1: Charybdis
Painting Creatures from Mythology
Chapter 01 - Charybdis Software used: Painter
Introduction According to Greek mythology the Charybdis is a huge, blubbery sea monster who long ago was transformed from a beautiful nymph who happened to be the daughter of Poseidon and Gaia. Now possessing a huge mouth and fins instead of limbs, she swallows vast quantities of sea water three times a day before disgorging it to create treacherous whirlpools. In this tutorial I’ll be depicting Charybdis in her monster form, rising from the depths to ensnare unwary fishermen with her turbulent belching. I’ll be using Painter 12 for the whole tutorial.
Concepts
Then I have a look to see which one is worth
want to show Charybdis in the act of creating
The first stage is to create some concepts for
taking forward. I don’t bother with colors at this
a whirlpool to drag an unwary boat into the
the creature. I sketch out a few rough ideas,
stage and instead concentrate on defining form
depths.
taking no more than ten minutes per piece.
through the use of values, that is, lights and darks. I quite like the idea of a fat turtle-looking
The problem I’m faced with is that if I depict this
beast so with that in mind, I go onto the next
from above the surface the swirling water will
step (Fig.01).
obscure Charybdis herself, whereas if I attempt
Beginning the Color Sketch
the scene from below I’ll have the same problem with the fishing boat. I therefore decide to split
I create a small canvas 900 pixels high in
the composition between underwater for the
the same aspect ratio as my final image will
bottom three-quarters of the canvas and open
be. Then using the Mixer palette, I create a
air for the rest. It’s a cross-section, as if the
palette of the colors I intend to use; turquoise
scene has been sliced vertically (Fig.02).
for the sea and the bulk of the creature, and
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a contrasting orange for the sky. Using these
I start with the sky, roughing in some clouds,
colors I begin to sketch out my composition. I
and the surface of the water, which is undulating
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Painting Creatures from Mythology Chapter 1: Charybdis
and choppy. Beneath the surface the effect of the sunlight decreases rapidly until at the bottom of the image the water is almost black. The sunlight that penetrates the surface is not uniform and forms beams due to the turbulence of the water, much like sunlight passing through gaps in cloud. In terms of the coloration there
design. I search out a likely contender using
worthwhile playing about with the size and
will be more orangey light present in the water
Google images and use the image as a loose
contrast of your papers in order to get the most
close to the surface. As the light passes further
reference for my own (Fig.03).
pleasing effect (Fig.04).
blue/green in color. I exaggerate the turquoise
Resample the Image
Adding Basic Detail
hue for effect, but it is worthwhile noting that
Unfortunately my Painter has just crashed and
I start work on the monster’s head and upper
water is in fact blue, not colorless as is often
I’ve lost my Mixer palette! Rather than create
torso, making sure I don’t go too bright with
thought, and this is clearly visible in large bodies
another Mixer palette I use the Create Color Set
my values on account of the surface of the
of clear water. The deeper the water the deeper
From Image option on the Color Set palette,
water reflecting away a good deal of sunlight.
blue it appears.
which generates color swatches based on the
The closer an object is to the surface the more
colors I’ve already painted. Happily this isn’t
orangey light it will catch so this is why I include
part of the tutorial, just something I thought I’d
quite a lot of orange on the head and upper
Being that Charybdis is a character from Greek
mention in case anybody spots that my Mixer
torso, and less and less on the body as it fades
mythology it’s fitting that the boat is of Greek
palette has disappeared!
away into the murky depths.
I resize (or more accurately, resample) the
I pay attention at all times to the direction of my
image to full working size, which is 5000 pixels
light source in order to ensure the shadows are
tall, making sure to keep my aspect ratio
consistent. Later, I’ll be adding a mottled pattern
consistent with my specification. I often work
to simulate light shining through the waves, but
larger than the specification requires and then
for now I’m just treating the light source as I
downsize as my final step. This allows for finer
would in the open air (Fig.05).
into the depths it will become more and more
Using References
detail. I zoom in to 50% and with an Artists’ Oils
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brush, begin to dab in some basic detail. The
Adding Fine Detail
Artists’ Oils brush I use has Pressure-dependant
Once I’ve roughed in the features on the head
opacity and Grain set to 50%. The grain option
and torso I zoom in 100% for the detail. I don’t
allows the paper texture to show through the
usually have a plan as to which areas of the
strokes where the paint is thin. Papers are
image I’ll tackle first; I just make it up as I go
selectable from the Papers panel and it’s
along. This time I decide to complete the head
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Chapter 1: Charybdis
Painting Creatures from Mythology
and upper torso before going on to the rest of
pixel circular brush to sharpen the teeth and to
then dragging the cursor across the image, you
the image. As well as my Artists’ Oils brush I
create some more intricate textures around the
can rotate your canvas quickly and easily to
use a circular, grainy brush also set to Pressure
gums. Working this small doesn’t mean I should
any orientation. You can then paint just as you
dependant opacity and with a subcategory of
sharpen every line – that would make it too
would normally and when you’re done, reset
Grainy Soft Cover. I set this brush to around
clinical-looking – it’s more a way of accentuating
the orientation by double-clicking the icon or
18% Hue variability using the Color Variability
key areas to attract the viewer’s eye (Fig.08).
clicking the Reset Rotation icon in the Navigator.
panel. This gives a pleasing mottled effect to my strokes.
Tilting the Canvas
Rotating your image doesn’t affect the actual pixels so you can do it as many times as you
If you’re like me and drawing a good curved
like. You can also rotate by pressing Spacebar
I have deliberately avoided making the
line is a challenge at the best of times then you
and Alt and holding them down together as you
creature’s mouth too symmetrical so I can have
might find Painter 12’s Rotate facility useful. By
drag your cursor (Fig.09).
fun sprinkling teeth and wobbling fleshy flanges
clicking on the Rotate Page icon on the toolbar,
all over the place. As always I use the Navigator to move the canvas as I find it quicker and easier than the drag method (Fig.06).
Painting Texture Texture can be communicated via brush strokes and also via Paper texture, but it can also be manually painted. Here I add some imperfections to the shell and skin of Charybdis whilst always being mindful of the direction of the light source. I include some barnacles, which I paint by dabbing bright dots on top of darker dots, leaving a small crescent of shadow underneath. Variations in color can either be blended together or their boundaries left sharp. I find it’s good to use a combination of these effects to produce some pleasing textures (Fig.07).
Super-fine Detail For the focus of the piece, which is the creature’s head and mouth, I include some very fine detail. I zoom in to 150% and use my 3 or 4
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Painting Creatures from Mythology Chapter 1: Charybdis
Turbulent Water The thought of painting water in motion is intimidating, but in actual fact it’s quite easy if you take it steady. The first step is to get the colors down. We’ve already got the hues sorted for the basic ocean depths so now we need to create a whirlpool effect. To do this I color pick brights and darks from the immediate environment and sketch a series of arcs in an inverted pyramid. I use a light pressure on my pen so that I don’t create anything too solid-looking. I try not to make the pattern of lights and darks too regular as I don’t want the
Last of all are the bubbles. I draw the bubbles in
careful not to make their positioning too regular.
whirlpool to look striped. The boat is almost at
little groups that either follow the swirl direction
When that’s done I choose a brighter orange
the centre of the whirlpool and this means that
of the whirlpool or cling to the surface in the
and basically just fill in the pattern I’ve created,
light reflected from its hull and sail will be picked
general vicinity. For each bubble I paint a dark,
taking care to leave more dark paint visible on
up by the swirling water. So, using browns and
slightly irregular arc representing the lower part
the side opposite the light source (Fig.11).
oranges I paint hints of reflection in the ocean
of the bubble and a bright highlight representing
below the boat (Fig.10).
the top. Inside the bubble I’ll sometimes dab
Blending the Clouds
a hint of color, either brown for reflection of
Blending is a two stage process. First I use
The next step is to blend our colors. I use a
the boat or the monster’s skin, or turquoise to
low-pressure dabs of the circular brush to add
version of my circular brush set to 0%
represent the depths beneath. I am careful to
blended highlights, and I also introduce some
Resaturation. It’s important not to blend too
make my bubbles slightly irregular and different
high contrast oranges into the shadows to add
much, so I calibrate my brush using the Brush
sizes to give a more authentic effect.
interest. Then, with the pure blending brush,
Calibration panel to respond only to hard
I blend the centres of the cloud billows whilst
pressure. This makes it easier to apply a light
Little Fluffy Clouds
touch.
To add interest the piece I’m going to paint
A good guide when blending at this stage is to
some fluffy clouds on the horizon. I’m
only blend colors that are similar. If you try to
deliberately going for a semi-surreal effect
blend across too great a range the result will
because I think that will fit in well with the overall
often be a muddy mess. I blend the rest of the
concept of mythology. Using my Artists’ Oils
sky using the same technique (Fig.12).
brush I paint a series of dark arcs directly onto
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taking care to leave the edges relatively sharp.
the rough texture of the sky. I press harder on
Waves
the side opposite the light source (the Sun)
When painting the surface of the ocean it’s
in order to indicate shadow. I make the arcs
important to use free-flowing strokes, blending
smooth and vary them slightly in size. I’m also
as required. I use quite a lot of orange to
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Chapter 1: Charybdis
Painting Creatures from Mythology
represent light reflected from the sky. Some of the orange color penetrates the surface in the form of rays, but they decrease in size and intensity as depth increases. In the peaks of a couple of the waves I use high saturation color to communicate the transparency of the water, otherwise it would appear too solid (Fig.13).
Wavy Detail I zoom in to 100% to add fine detail on the ocean surface, which mainly comprises of flecks of foam from the crests of the waves. I also include some extra foam and bubbles to emphasise the turbulence of the whirlpool (Fig.14).
Detailing the Boat Working loosely from my reference image I apply detail to the Greek fishing boat. I start by blending the colors on the sail and adding some more saturated orange to indicate sunlight passing through the material. The corners of the sail are out of direct sunlight, so I beef up the shadows in those areas. I paint the two characters at opposite ends of the boat, clinging on for dear life as the boat goes under. For the ropes supporting the sail I use the straight Line tool, pressing V to enter line mode and clicking on the start- and end-points. To return to normal painting mode I press B (Fig.15).
Undersea Lighting In the penultimate stage I want to add some additional lighting to Charybdis. When strong sunlight shines on turbulent water it creates
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Painting Creatures from Mythology Chapter 1: Charybdis a rippling pattern of highlights on objects beneath the surface and that’s what I’m trying to replicate here. Because it’s very difficult to judge the exact strength of the lighting I’m going to use a layer. In this way I can alter the layer’s opacity and even delete it and start again if it all goes wrong. I create my layer with a Lighten attribute and set it to 50% initially. With my circular brush I apply some low-pressure white strokes in vague diamond shapes across the monster’s body. I am careful not to extend these highlights into the shadows because they only occur where the light strikes directly. I try and mould the shapes to the body form too, so that it appears like we’re wrapping the effect around a real object rather than just applying a flat filter. When I’m happy with the overall look I adjust the layer opacity, drop the layer to the canvas, zoom in 100% and tidy up here and there (Fig.16).
Final Tweaks At this point I take a break from the image and come back to it a few days later. This helps give me a fresh perspective. I think everything looks okay apart from a couple of dark clouds in the top right, which tend to draw the eye and detract from the action. With a big Artists’ Oils brush I paint over the clouds with brighter colors then use the circular brush and blender to merge the area back into the sky. Finally I resize my image down to 2480 x 3425 pixels, tweak the contrast a little to enhance the intensity and save the image as an uncompressed TIF file. And that’s Charybdis completed; I hope you enjoyed the process (Fig.17).
Simon Dominic For more information please visit: http://www.painterly.co.uk Or contact him at: si@painterly.co.uk
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“Music has (at least for me) the ability to intensify emotions. Sometime I browse through my iTunes library and get drawn to one of them�
If anything is going to keep you off the streets at night it would be this creepy illustration, which is the creative work of Makus Lovadina. In this Making Of he tells us how he set the mood for his stunning illustration and added the monsters to these empty streets.
Keep The Streets Empty Making Of Making Of Keep The Streets Empty Software Used: Photoshop
Introduction Music has been, and still is, a great source of inspiration for me. There is nothing better than the right song for the right image. Music has, at least for me, the ability to intensify emotions.
Blocking In
and get drawn to one of the songs. While
The Tools And Painting Process
listening to the sound again and again an
The Smudge tool is pretty cool when blending
in mind. In such cases I start by blocking in my
image starts to pop into my mind. This image
hard edges together. But you have to play with
rough shapes and colors without any thumbnails
was inspired while I was listening to Keep
the right settings. When I’m using the Smudge
or sketches. For this image I knew I wanted
The Streets Empty For Me by the band Fever
tool, Strength is set to 20% and the brush itself
to have a street scene where the camera was
Ray. The song is pretty intense and has a dark
is set to Sensitive pressure. The scale is 100%,
pretty close to my main building. The whole
brooding mood to it. The idea to paint my own
with no effect. Even if I work with the Smudge
scene would have a dark mood, with an old
interpretation of this was set into my mind.
tool I still use my layer technique. This mean
worn-out building facade. For the blocking
I have my base color on one layer and my
in I used mainly a Round Hard brush (set to
I already had some images in mind as to how
shadows and highlights on separate layers. By
Opacity) and a Square brush (set to Opacity
the final illustration could look and I wanted it to
using the Smudge tool on the highlight you’ll
too) as well. I used some textures from my own
have a more illustrative feeling in comparison to
get some pretty nice, happy color accidents.
library of textures for the wooden door and the
my other works. Normally I use a lot of custom
The only downside is that this will slow down
concrete (Fig.04).
brushes and shapes to speed up the process
your computer a bit (but this happen when using
but for this image I wanted to use a different
separate layers). When I’m happy with the look I
First Details
approach and just used three main brushes: a
merge the layers together and create a new one
I added some additional colors to the wall,
basic round, a painterly brush and a smudger.
for the next steps (Fig.01 – 03).
mostly gray values, and started to paint in
Sometime I browse through my iTunes library
As I mentioned before I already had an image
the first window details. The windows are barricaded with some wooden planks, which adds to the eerie feeling and the whole mood. Until now everything was painted with the round and square brushes. The square brush was also used to show the first rough bricks (Fig.05).
More Details and the First Color Correction The next step was to get a bit more texture on the wall. I used my customized shapes to do this and erased any unnecessary parts. Using customized shapes or simply normal shapes automatically creates a new layer, which will give you the option to play with the layer’s opacity setting or just erase certain areas without affecting the background. Shapes can be made from most images. Just convert the image to a black and white image (not
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Issue 073 January 2012
Making Of
Keep The Streets Empty
grayscale), select the black areas to make a clipping path and add it to your shapes (main menu, below brushes). On top of that I added the first details to the door (Fig.06).
More Details and Textures My next step was to create a new layer for more color variations. This layer was set to Soft Light, which is a pretty easy and comfortable way to adjust and add colors. Depending on your specific needs, you can paint in the color with some brush strokes or using a soft gradient. I mostly used purple or blue tones for
the additional color. For the structure on the
use a mid-sized round hard brush for the base
wall I used a texture I shot quite a while ago.
shape and then start to erase certain areas for
It is pretty useful to collect your own texture
smaller details (e.g., claws etc.). This procedure
references. Just go out with a camera and shoot
goes back and forth until I’m happy with the
whatever you want, it’s really helpful (Fig.07).
overall shape. I also added some details as you
Blocking in the Creature
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can see on the door, the top of the image and the poster onto the wall, although I wasn’t sure if
When I was happy with the mood I started to
these were going to be in the final image. Again
block in some detail and the initial shape for
I added a new layer set to Soft Light and filled it
the creature. The creature’s shape was mainly
with a soft greenish gradient on the lower right
painted with the Hard Round brush. Normally I
side (Fig.08).
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Issue 073 January 2012
Keep The Streets Empty Making Of Creature Details
shadows on the top of the images. I created a
When I paint in the details for a creature or
new layer, drew in the shape with the Selection
character I like to work on separate layers
tool and filled the selection with a dark brownish
for mid-tones and the highlights as well. The
tone. The layer was then set to Multiply and the
technique I used here is described at the
Opacity was set to roundabout 45 – 50%. For a
beginning of this tutorial. For the details I used
three-dimensional feeling I selected the shadow
the Smudge tool with the special Smudge
area on the inner side of the window and moved
brush. You’ll get some pretty soft-tone blending
it downwards a bit. I used the color balance
and some happy accidents as well. If I like the
adjustment to shift the greenish tones to blue
look I merge the layers and create a new one
(Fig.10).
for painting/smudging more details and to add brighter highlights (Fig.09).
Color Correction and Light Source
Second Creature and Refining After a short break from this image I decided to add a second creature, which, in my opinion, added a lot to the eerie feeling. I duplicated
I wasn’t happy with the barrier on the door and
the first creature (another good reason to keep
the poster so I decided to paint over them. I
some elements on a separate layer) and moved
wanted the scene to feel like it was at night
it to the lower area of the image. To make sure
so I shaded the whole image using the Level
that the second creature didn’t look like a copy I
tool I got rid of the unnecessary elements and
Correction tool. To imply that the scene is light
used the Liquify tool and Transformation tools to
painted in some new shapes like the arm and
by some street lights I added two big diagonal
create a new body shape. By using the Eraser
the smoky body (Fig.11).
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Issue 073 January 2012
Final Details and Color Grading Now the image was close to finished. I created a new layer and started to paint in some bright highlights on the creatures. For the eyes I created a second layer, which was set to Add. I used a Soft Round brush twice the size of the eyes with a pretty bright value and painted in the glow of the eyes. To get the right look you could play around with the opacity of the layer. I used a custom cloud brush to paint in the foggy bodies. To add more of an atmosphere to the painting I created a new layer and painted in some fog using a cloud brush. Last but not least, I used the Color Balance tool for subtle color shifting. Finally I added Soft Light layers with a red and green tone to add warmth and contrast (Fig.12).
Markus Lovadina For more information please visit: http://malosart.blogspot.com/ Or contact him at: malo74@gmx.de
modo速 image by Teodoru Badiu www.theodoru.com
Meet modo.
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Guang Yang, Insun Kwon & more! Gallery - 10 of the best images from around the world!
“Sector 21 ” Project Overview by Rudolf Herczog
Bruno Camara kick starts our brand new ZBrush tutorial series with the creation of this armored lizard character .
Cyborgs
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Sword Master 2
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Topology
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Interviews B. Börkur Eiríksson
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Tutorials
Illustrating Fairy Tales Chapter 4: The 3 Little pigs by Blaz Porenta Designing Your Own Worlds Chapter 6: What to do with these Hippies? by David Smit and Nadia Karroue Designing Droids Chapter 1: Recon Droid by Alexander Iglesias Painting Creatures from Mythology Chapter 2: Leshy by Simon Dominic Brewer & Markus Lovadina
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Issue 073 January 2012